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現代 工業 意匠의 淵源 硏究 : as an early stage in the development
張文戶 경희대학교 부설 식량자원개발연구소 1995 硏究論文集 Vol.16 No.-
The modern industrial design incepted about 1930's. Its formation background is composed of two factors. Former, the economic situation at that time was reviewed fundamentally because of denying Adam Smith's economic theory and financial panic in 1930's. And according to the beginning of modern economy, output schedule, industrial products quality, technical improvement were focused, especially products began to be made by man's will, need and want considered. In this point, the formation of the modern industrial design could be possible. Latter, it was the period for the modern society-mass-society, mass-democracy, mass-communication-to be established and modern economy began to make not only pursuit of profits or a privileged class but also the public with various wants objects. So that people became to make a design suitable to the body, want and emotion of life-space. It also became to be a essential part of the modern industrial design. The formation of the modern industrial design has had an aesthetic problem between industrial capital and society. To solve this problem realistically, the remarkable progress of modern material and technology in design areas has to be backed up. Because it is the joint production of cooperative relation among economic, social, technical, scientific and aesthetic opportunities. And this joint production is the integrated creative activity of life experiences. Therefore, the modern industrial design is no longer an applied art. It has to be ruled by an unique principle that aims joint grounds of various arts.
産業時代에 있어서 創造性의 形成과 造形性 : 技術藝術學的 考察 A research from a viewpoint of the technology of art
張文戶 경희대학교 부설 식량자원개발연구소 1993 硏究論文集 Vol.14 No.-
Relation between art and technology is today's main subject in the field of plastic arts, the estimation of individual artist's skill as been losing its importance. Technology that is connected with the development of science has been introduced into piastic arts and has become a means of the execution. Tecchnology has something self-perpetuating and inhuman, and it is different from the concept of thecnique. Artists just express their own originality in keeping a close relation to this circumstances. As the separation between technology and humanities becomes sharpness than ever, it can be said that the technological-art is one of the trials to cement these two things.
Modern Art에 反映된 卽物性의 課題에 대한 論考
張文戶 慶熙大學校 1979 論文集 Vol.9 No.-
Non-objectivity is often pointed out with regard to the character of Modern Art. It is not, however, enough to study this problem only from the standpoint of style. This meaningless non-objectivity will not be completely understood unless its meaning is considered. "Object" is the most typical mode of this meaningless objective art. It loses medium term of expressed object. This mode of being in the work of art is generally, when it is analyzed, attributed to reality in actuality and to reality in meaning. As for "Object", both of them from reality in the work of art not through the medium as "Subjet" but without mediation. Mode of meaning in "Objet", therefore, is constructed by such reality as material object inherently owns, that is, by those fundamental plastic elements, its real colour and form.
機能主義理論에 對한 考察 : 最近의 DESIGN의 傾向을 中心으로
張文戶 慶熙大學校 1980 論文集 Vol.10 No.-
Functionalism is no more a leading theory of contemporary designs. Here arise questions, for functionalism has been thought the absolute principle of designing articles. Now analysing functionalist theories of those days, I find out the principle of "efficiency" and the principle of "purposive unity" in them. At the same time, however, I also find that their actual assertions - simplicity in construction, fitness to material and stripping of meaning less ornament - were one-sided specializations of the above mentioned principles. What is, then, the cause which made them so specialized? It was, I think, a state of mind of the people - being lost to play - who lived in the tense situation of those days. Therefore, proposing that the word "functionalism", should be sued to mean the outer phase - the specializations-rather than the inner principles, I think functionalism is a style of the times.
張文戶 慶熙大學校 1986 論文集 Vol.15 No.-
In the semiotic study of art till today, the main subject has usually been the meaning of art. It is presupposed that the art as work of art has a meaning. A sign or sign-complex, however, comes to function properly and its meaning ton be posited. Only through sign behaviors of interpretants. This fact shows us that the previous semiotic research is not satisfactory and that we must pay attention to this aspect of art and the relation between works of art and conducts of artists. This important problem has been already suggested by many critics of modern art. who regard the meaning of artist's conducts as more meaningful than that of works of art themselves. But the possibility of objectification of such must be examined more accurately.